JOAN ARMATRADING
SHOW SOME EMOTION
1977 – A&M
Produced By GLYN JOHNS
1. Woncha Come On Home
2. Show Some Emotion
3. Warm Love
4. Never Is Too Late
5. Peace In Mind
6. Opportunity
7. Mama Mercy
8. Get In The Sun
9. Willow
10. Kissin’ And A Huggin’
Joan Armatrading has been recording music since the dawn of the seventies, and she has always been woefully underrated. Her biggest success came with her self-titled fourth album in 1976, which showed what a formidable force she could be both as a performer and a songwriter. Show Some Emotion is the follow up to that record, so the pressure was on for her to repeat that level of excellence. She didn’t quite match it, but she did come pretty close. Reviews for the album were less than enthusiastic, which is too bad. Show Some Emotion may be not the masterpiece people were expecting, but it does show that her previous album was no fluke. This record has everything that there is to love about Armatrading: she can be soft and vulnerable, she can rock just as well, and she is one hell of a songwriter with a nice ability to turn out hits.
The best songs on this disc cannot and should not be ignored. The title track is a wonderful rocking track that also shows she can handle a guitar. “Warm Love” is a fine song. “Kissin’ And A Huggin” is a rollicking closer. But the real star of this album is “Willow”. This is where you get the real power of Joan Armatrading, with a perfect ballad. She is such a versatile performer and writer, and it’s always fun to see what comes at you on the next song. Show Some Emotion isn’t as great as the one that came before it, sure…but to expect it to be is kind of unfair. She’s always worth hearing, and she’s still at it…her 21st album is due out…well, tomorrow from this writing. Show Some Emotion is underrated, and it’s a very good record. Check it out…along with pretty much everything else this special artist has done.
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MILTON NASCIMENTO & LO BORGES
CLUBE DA ESQUINA
1972 – ODEON
Produced By MILTON MIRANDA
1. Tudo Que Voce Podia Ser
2. Cais
3. O Trem Azul
4. Saidas E Bandeiras No. 1
5. Nuvem Cigana
6. Cravo E Canela
7. Dos Cruces
8. Um Girassol Da Cor Do Seu Cabelo
9. San Vicente
10. Estrelas
11. Clube Da Esquina No. 2
12. Paisagem Da Janela
13. Me Deixa Em Paz
14. Os Povos
15. Saidas E Bandeiras No. 2
16. Um Gosto De Sol
17. Pelo Amor De Deus
18. Lilia
19. Trem De Doido
20. Nada Sera Como Antes
21. Ao Que Vai Nascer
Clube Da Esquina is one of the greatest and most important Brazilian albums ever recorded. It’s also the name of the musical collective that played on it. Milton Nascimento and Lo Borges are the two lead vocalists, and the album is credited to them, while being named after the collective. It’s a double album, and it covers pretty much every style of music that was important in 1972. Brazilian critics were not kind to the album, finding fault with both Nascimento and Borges, but the people understood, and have made it a must have record. This was the already seasoned Nascimento’s fifth album, but for Borges, it’s his debut recording. He was just 19 when it was recorded, although his involvement with Clube Da Esquina began when he was just eleven years old.
In the world of Brazilian pop music, this is a huge document. The collective makes engaging and entertaining music, and the vocals of Nascimento and Borges are the perfect compliment. The acoustic guitar work in particular is of special note. Only two of the songs are not original works” “Dos Cruces” is a Spanish bolero from the 1950’s, and “Me Deixa Em Paz” is by the important Brazilian songwriter Monsueto. This music is all of huge importance in Brazil, and both singers were catapulted into stardom from it. This two record set is worth taking the time to sit down and discover it, for sure. You’ll find something you like here…rock and roll, classical, traditional songs, influences from The Beatles and 50’s vocal groups. This is a classic and great album well worth diving into.
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TOM PETTY & THE HEARTBREAKERS
HARD PROMISES
1981 – BACKSTREET
Produced By JIMMY IOVINE & TOM PETTY
1. The Waiting
2. A Woman In Love (It’s Not Me)
3. Nightwatchman
4. Something Big
5. King’s Road
6. Letting You Go
7. A Thing About You
8. Insider
9. The Criminal Kind
10. You Can Still Change Your Mind
Hard Promises is the fourth album by Tom Petty & The Heartbreakers, and the last to be played in full by the entire original lineup. Like many of Petty’s albums, it’s often overlooked and passed over by critics, despite the hits and great tracks included. This was the album that included a pair of guest vocals by Stevie Nicks, and the last to feature Ron Blair on bass for twenty years. Hard Promises is the follow up to the hugely successful Damn The Torpedoes, and is ultimately worthy of that distinction. It was also the subject of a price war between Petty and MCA Records, who wanted to raise the price of the album without consent. A lot going on here, but don’t forget that this is also a pretty terrific album. One of the best from the Heartbreakers.
The album opens with a pair of great hits. “The Waiting” and “A Woman In Love (It’s Not Me)” are worth having the album for alone. But you also get the burner “A Thing About You”, and two of the band’s concert favorites, “Nightwatchman” and “Kings Road”. And then there’s Stevie. Jimmy Iovine was also producing her solo debut Bella Donna, and hooked her up with Petty for a song that ended up being three. “Stop Draggin’ My Heart Around” ended up on her album, but Hard Promises got the beautiful duet “Insider”, one of Petty’s very best ballads. This album doesn’t get the love it deserves. Petty & The Heartbreakers were at the top of their game here, and this is actually one of their better records. Don’t sleep on Hard Promises…it’s better than you might remember it to be.
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EELS
BEAUTIFUL FREAK
1996 – DREAMWORKS
Produced By JON BRION, E, MARK GOLDENBERG & MICHAEL SIMPSON
1. Novocaine For The Soul
2. Susan’s House
3. Rags To Rags
4. Beautiful Freak
5. Not Ready Yet
6. My Beloved Monster
7. Flower
8. Guest List
9. Mental
10. Spunky
11. Your Lucky Day In Hell
12. Manchild
If you’re looking for songs about sad stuff, you’re in luck. Mark Oliver Everett has got you covered. Everett recorded a pair of solo albums in the early 90’s under the name E before forming the band Eels. The first Eels album is Beautiful Freak, which is, along with their next album Electro-Shock Blues, the very best music from Eels. You could describe the music of E and his band as dark pop, and you would not be wrong. Beautiful Freak is catchy and sad, two things that normally don’t go well together. But Eels makes it work. The pair of albums Eels opened their career with is one of the better pair you will hear. They are not a household name, but perhaps they should be. But that’s what different will get you in this world…not always seen.
“Novocaine For The Soul” (complete with its Fats Domino sample) lets you know right away that you’re in for something special. You also get great tracks like “Susan’s House”, “Your Lucky Day In Hell”, and “Rags To Rags”. And the superb title track. Beautiful Freak is loaded with gems, left turns, and one catchy song after another, while E’s lyrics keep things honest. Sad songs never sounded so good. Eels continues on to this day, although E is the only remaining original member. They’ve never quite matched the magic of Beautiful Freak and Electro-Shock Blues, but not for a lack of trying. The excellence of this band’s early work should not be ignored. It may take a listen or two, but you will be taken in by this music. A must have for sure.
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DOLLY PARTON, LINDA RONSTADT & EMMYLOU HARRIS
TRIO
1987 – WARNER BROS. NASHVILLE
Produced By GEORGE MASSENBURG
1. The Pain Of Loving You
2. Making Plans
3. To Know Him Is To Love Him
4. Hobo’s Meditation
5. Wildflowers
6. Telling Me Lies
7. My Dear Companion
8. Those Memories Of You
9. I’ve Had Enough
10. Rosewood Casket
11. Farther Along
Well, here’s a slice of heaven for you. Three of the greatest female singers of their time, Dolly, Linda and Emmylou, also happened to be great friends. They attempted to make an album in the seventies, but that didn’t work out. The Trio album from 1987 is really something special. These three stars put themselves on equal footing and do what they have always done best…sing their hearts out. They are not only perfect together, they also show that they have great taste in material. Parton is the only real songwriter of the three, but there are only a pair of her songs here, with just one (“Wildflowers”) having been written specifically for the album. The rest are perfectly chosen covers from country, pop, and R&B. Not to mention that some of the greatest players in music contributed to the backing tracks.
The music and the singing here is perfection. Linda Thompson’s “Telling Me Lies” is fantastic. “Those Memories Of You” was first recorded by Bill Monroe in 1950, while “To Know Him Is To Love Him” was a ‘50’s hit written by Phil Spector. The songs are great, the playing is amazing, but it’s all about Dolly, Linda and Emmylou. Unfortunately for us all, the trio wasn’t able to spend much time together, much less record, since this. There was a 1999 album (recorded five years earlier) that was not quite as magical as this one. A three disc compilation of just about everything they recorded together came out in 2016, including recordings made in the seventies. And unfortunately, Ronstadt’s health now keeps her from singing. You’ll want this 1987 record…it’s about as perfect as can be.
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LUCERO
TENNESSEE
2002 – MADJACK
Produced By CODY DICKINSON
1. Sweet Little Thing
2. Slow Dancing
3. Nights Like These
4. Ain’t So Lonely
5. Old Sad Songs
6. Chain Link Fence
7. Fistful Of Tears
8. The Last Song
9. When You’re Gone
10. I’ll Just Fall
11. Here At The Starlite
12. Darby’s Song
13. Into Your Eyes
Lucero is an alt country and rock band from Memphis, Tennessee. If you’ve ever wondered what Memphis sounds like, this is it. Lucero has been one of the hardest working bands in music since they formed in 1998. They tour almost endlessly, yet still have found the time to record and release twelve studio albums, plus four live records and some soundtrack work. It only makes sense that the have an album titled Tennessee, since it is their home base. Tennessee is their third album, and it remains a favorite of their fanbase. Lucero has always been headed by their frontman Ben Nichols and his gravel filled voice, and the powerful guitar work of Brian Venable. You won’t find a lot of faster songs here, and that’s okay. Lucero makes up for its lack of upbeat material with its wall of sound and intensity.
Tennessee contains several songs that have become concert favorites, and that also sound great on alt-country radio. “Nights Like These” and “Sweet Little Thing” are definite highlights, with “Here At The Starlite” and “The Last Song” not far behind. Lucero is a band that can take some time to get into, so be a little patient. Patience here can be very rewarding. The production by Cody Dickinson (North Mississippi All Stars), the son of the legendary Jim Dickinson, adds plenty. Lucero has their fan base, and they are more of a regional favorite in Memphis than anywhere else, but they do have plenty to offer. Seeing them live goes a long way…they’re a fine and well-seasoned live act. And if you like Tennessee, well, there’s plenty more where that came from.
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BLIND FAITH
1969 – POLYDOR
Produced By JIMMY MILLER
1. Had To Cry Today
2. Can’t Find My Way Home
3. Well All Right
4. Presence Of The Lord
5. Sea Of Joy
6. Do What You Like
7. Exchange And Mart
8 Spending All My Days
Blind Faith only existed for about six months. But they are still talked about to this day, going on sixty years later. Eric Clapton had left Cream, and Steve Winwood put Traffic on hiatus. The two began playing together, adding Cream’s drummer Ginger Baker, then finally bassist Ric Grech from Family. It was quite a supergroup lineup, but also one that never had the time to become what it maybe could have been. They were rushed into the studio, then rushed to record what was hoped to become a massively successful album. Blind Faith was released just over five months after the band formed, and they broke up for good less than a month later. There was also the album cover…it was considered controversial in the UK, not because of the girl pictured, but because of the airplane she was holding, which some though to be phallic.
Because the album was rushed, it sounds somewhat incomplete. There is some legendary greatness here: “Can’t Find My Way Home” is still a radio staple, and one of Winwood’s best songs. “Presence Of The Lord” is one of Clapton’s best works, and it’s pure guitar gold. It was actually Clapton’s only songwriting contribution…the rest were by Winwood, with the overlong space filling jam “Do What You Like” by Baker, and “Well All Right” being a Buddy Holly cover. The result is an album that’s half great and half might have been great had they been given more time. Blind Faith was done almost before it came out, but it’s still a pretty important piece of rock history. The bonus tracks don’t add a lot…both were written by Grech, who was the least interesting member. Historically valid, but short of greatness.
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BILLY JOEL
PIANO MAN
1973 – COLUMBIA
Produced By MICHAEL STEWART
1. Travelin’ Prayer
2. Piano Man
3. Ain’t No Crime
4. You’re My Home
5. The Ballad Of Billy The Kid
6. Worse Comes To Worst
7. Stop In Nevada
8. If I Only Had The Words (To Tell You)
9. Somewhere Along The Line
10. Captain Jack
Billy Joel wasn’t just an immediate star. He battled his way through the second half of the 1960’s, recording a pair of albums with The Hassles, and one with the duo Atilla (which was once called the worst rock & roll record ever recorded). Joel went solo at the dawn of the seventies, and released his debut album, Cold Spring Harbor, which was an absolute flop. Everything changed in 1973 with his second album, Piano Man, and that title song that has lived on for more than fifty years. His career has been nothing short of extraordinary, but it all comes back to that song. It’s not his highest charting single, but it is the best selling. The lyrical story of the view from behind the piano at a bar filled with well served regulars struck a chord, and made Joel a star. He would never look back.
Piano Man is bookended by two songs. The title track, of course, and the seven minute closer, “Captain Jack”. The song that got him signed to Columbia, “Captain Jack” tells the tale of a heroin dealer and urban issues. It’s a glimpse into Joel’s future attempts to be a heavier rocker than he is, but it’s still pretty great. The rest of Piano Man is not as notable. “Travelin’ Prayer” and “Worse Comes To Worst” were minor hits. And there’s the kind of woeful “The Ballad Of Billy The Kid”, which predates Bon Jovi’s not so clever trick of using a six gun as a modern metaphor in “Wanted Dead Or Alive”. Piano Man is the album that started the surge for Billy Joel, but outside of the two main songs, it’s not high on the scale of greatness. Better to have those songs on a greatest hits compilation.
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ELLA FITZGERALD & LOUIS ARMSTRONG
ELLA AND LOUIS
1956 – VERVE
Produced By NORMAN GRANZ
1. Can’t We Be Friends
2. Isn’t It A Lovely Day?
3. Moonlight In Vermont
4. They Can’t Take That Away From Me
5. Under A Blanket Of Blue
6. Tenderly
7. A Foggy Day
8. Stars Fell On Alabama
9. Cheek To Cheek
10. The Nearness Of You
11. April In Paris
Music from heaven is what this is. Two of the greatest performers of their time, Ella Fitzgerald and Louis Armstrong, had recorded together in the late 1940’s, so they were already comfortable together. Between 1956 and 1959, they got together and recorded three studio albums. Ella And Louis was the first of those. The founder of Verve Records, Norman Granz, picked out the songs and brought in the excellent Oscar Peterson Quartet, which included Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and maybe the greatest drummer of all time in Buddy Rich. There was no way that this album could have been anything less than amazing, and amazing it is. All topped off by the greatness of Fitzgerald and Armstrong. This is simply perfection.
These eleven songs were all handpicked for Ella and Louis. Slow to mid tempo, they fit the voices perfectly, with Peterson’s combo playing everything just right. Because it’s from so long ago, it tends to be something of a forgotten gem. But it’s a true classic, out there just waiting to be rediscovered. Even Bjork has said that it’s one of her favorite records. Beautiful jazz and pop vocals from the days when rock and roll was in its infancy. Fitzgerald was indeed the Queen Of Jazz, and lived until 1996. Armstrong passed away in 1971, and was a star from the 1920’s forward. Together, Ella and Louis were magical. Thankfully, Verve had the idea to put them together on record not just once, but three times. If you love this, and you should, there’s another pair of albums just like it waiting for you.
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